AnneMarie Maes creates objects with a range of biological, digital and traditional media, including bacteria and other organisms. The Alchimia Nova-works were generated out of the interstice between nature, art and science. They make the invisible visible.
She creates with a range of biological, digital and traditional media, including bacteria and other organisms. The choice of materials is a primary aspect of her artworks. The physical and aesthetic features of the materials she works with determine the forms of the individual sculptures, objects or textiles.
In my practice, the concept of making and producing sculptures and textiles is a form of research. The (sometimes long term) artistic process happens in layers, by actions of adding and subtracting. The volume of an object and its relationship with nature (micro/macro) are essential elements of my work, the concept of scale is very important. The choice of materials I work with is a primary aspect of my artistic research. I prefer natural and organic components, and I create often in collaboration with living organisms such as bees, bacteria and plants. The physical and aesthetic features of the materials I work with determine the forms of the individual modules, sculptures or textiles. The resulting sculptures and textiles are appealing to touch and smell, but they also attract the viewer in an aesthetic and visual way.
This solo exhibition is part of the DowntownBrussels Art circuit with guided tours on 4 and 5 May 2019.
Opening on Wednesday 24 April, from 6PM to 10PM.
25/26/27/28 April, 2PM – 6PM
3/4/5 May, 2PM – 6PM
and by appointment
n0dine projectroom, Lakensestraat 105 Rue de Laeken, 1000 Brussels
We are very happy to announce that the activities of the Currer Bell College have been resumed in a collaboration between Transtechnology Research, University of Plymouth (whose director is professor Dr. Michael Punt), represented by Dr. Edith Doove, researcher in the science and theory of art, and the Cabinet des Écarts Singuliers, of the ESDAHaR Rouen Le Havre represented by Dr. Jean-Louis Vincendeau, research professor in the theory of art (whose director general is Mr. Thierry Heynen).
The objective of this reactivation of the Currer Bell College is to consolidate the common points of the themes of these two laboratories and to validate the research and achievements in the form of texts, images, and exhibitions. Our main method of research finds itself between fiction and reality, with a slight preference for fiction.
Away from the mainstream, an authentic art is aimed at, a reflection, a real approach to cause a shift, a behaviour towards a new emotion, a breaking up of current forms in art.
We will publish at irregular moments images and texts and will keep you informed about further developments.
Images: Jean-Louis Vincendeau et Ollivier Moreels, performer Stanislas Deveau, 2019
Fictioning’s structure seems at a first glance very neat and straightforwardly organized – three main sections each divided into two subsections with four to five chapters, covering what the authors indicate as the three myth-functions of contemporary art and philosophy: ‘Mythopoesis to performance fictioning’, ‘Myth-science to science fictioning’ and finally ‘Mythotechnesis to machine fictioning’. Within this seemingly clear structure however all hell breaks loose.
Read my full review of this great book by David Burrows and Simon O’Sullivan here.
From 25 – 29 June 2019, the association (n) led by Dominique Leroy and Marina Pirot, designers of collaborative projects related to landscapes, will organize the so-called Agrilab meetings. These meetings will take place on an agri-cultural site of 6 hectares on the outskirts of Nantes, with organic vegetable growers, equipped with a nomadic workshop, a greenhouse for workshops, meals and various light structures.
Agrilab meetings are seen as times of interaction between art/science/landscape practices to understand and share the ecological richness of the place, its estuarine and peri-urban context. It is about exploring this site “in transition” from your own creative practices “in transition” (experimental art, eco-creation, practices by agency, new modes of transmission,…) to meet this agricultural site.
Your creative proposals will question various forms of knowledge (positive, scientific, technical, experiments) on this agricultural site, and will aim to regenerate the visions and representations of this type of “landscape at work” in its various scales.
Your projects of “re-connection to the backgrounds” will challenge the art of agriculture, gestures, postures, tools, and types of perceptions at work in this worked landscape.
The meetings are open to all disciplines and all. “Experts” and “non-experts” are invited to contribute in the form of presentations, workshops, walks, readings, performances…
For logistical reasons a maximum of 20 participants will be welcomed on site each day except Saturday 29 June which will be a restitution day open to the public. Two evenings are proposed during this week: Friday evening 28 June, an “open stage” for participants to share a proposal in public; Saturday evening 29 June, a programme of presentations, performances, video screenings, etc., will also be open to everyone.
Registration is done via an on-line form, requiring a minimum of 2 consecutive days of attendance at the Agrilab meetings, no payment or public presentation is required. Each participant proposes a workshop, a presentation or an exploration of their current research; the projects, concepts born from meetings between participants, can be presented to the group.
Agrilab operates on the basis of free exchange between participants (peer-to-peer), meetings are organised without funding, without subsidies. The association (n) installs a minimum infrastructure on site (dry toilets, mobile kitchen, barbecue, electricity, video projector and other multimedia devices…). Each participant is equipped with his or her work equipment. Autonomy, self-organization, collective intelligence and group work regarding on-site organization, meals, accommodation will be appreciated!
Agrilab is organised in partnership with Transtechnology Research.
From Tuesday 25 to Saturday 29 June 2019 (registration on minimum 2 consecutive days via this link)
Chez les maraîchers des Couets, 47 ter rue Jules Vallès, Bouguenais-les-Couëts – 44
(access: ring road Nantes Sud, exit n° 50, or bus n° 98 stop Jules Vallès or Tram 3 stop Trocardière).
Find more info here.
Greenhouse on the Couëts site
Atelier “Soil pollution” with the association PING on the Couëts site in 2018.
View of a sound walk organised by (n) and the poet Florence Jou, Bouguenais Les Couëts (44).
The show opens today and Maes shows the bio-art installation Future Archaeology with which she presents artistic research results from her Laboratory for Form and Matter. In this Cabinet of Curiosities every object is the outcome of a particular experiment, with the focus on the transformative power of bacteria.
The images below show the actual installation and lay out.
1. Golden Beehive (modelled after an Eucalyptus seedpod with wax made by Honeybees)
2. Glossa (Scanning Electron Micrograph of Honeybee Tongue, 150x magnified)
3. Stimulus (Scanning Electron Micrograph of Fine Dust Particle, 3500x magnified)
4. Assembled Microbial Skins (natural)
5. Assembled Microbial Skins (colored with vegetal dyes / Hibiscus, Cochineal)
6. Belly (model for an Intelligent Guerrilla Beehive, frame with comb build by Honeybees, 3D printed skeleton)
7. Turtle (cellulose skin grown by bacteria and dried in 3D milled form)
8. Pollution Sensors (color changing & pollution sensitive bacteria on microbial skin medium)
9. Algae Generator
10. Algae, Stones, Microbial Skin, Hemp Fibers
11. Beads made from Honey, Wax & Propolis
12. Bioplastic made from algae, bacterial sensor indicating the fine dust pollution (in the ball)
13. 2 Lightboxes with colored cellulose, grown by Bacteria
14. Video scanning organic matter – made with microscope
15. Cases with a series of Intelligent Guerrilla Beehive models made from different materials
The exhibition runs until 08.06.2019
SongEun Art Space
6 Apgujeong-ro 75-gil
Seoul, South Korea
The commission of Neil Wood for the Paris Metro (RATP), a 50 metre mural installation named ‘Eh Toi Là, Attrape Ton Étoile’ located at the Charles de Gaulle Étoile hub station, now also has its official plaque.
The text on the plaque reads, translated:
|A star under the Place de l’Etoile: the work of British artist Neil Wood proposes a random constellation in the heart of the station on a fresco fifty meters long and three meters high.
A tribute to the city of lights and the Champs-Elysées, the work makes use of the colours that are used to represent the different lines of the RATP-network. In search of his lucky star (or perhaps ours), the artist thus transforms, during the time of a passage, the daily journey of travellers into a small cosmic voyage.
Born in London in 1963, Neil Wood started in the world of design in 1985.
He founded his own studio in 1991 and mixes in his artistic practice various media: photography, writing, sculpture, engraving, sound installations and performances.
The arts magazine Beaux Arts published a text on the installation in March 2017 which you can read here (in French).
If dancing is about walking, and walking is about swinging the body weight, sculpture makes part of these games of balance.
Jimena Kato states that these physical notions are the main directional traits of her work:
I use matter and its weight as a principal foundation for my pieces. Accept their constitution, their movement, their own dynamics, to work with them instead of trying to controle them.
The making of a sculpture becomes also a “laisser faire” game.
This Friday 22 March from 7 – 9 pm her solo exhibition opens at
Rodrigues Gallery, Wodna 13/4 at Poznan, Poland
The exhibition runs until 24 April and is open Wed-Fri 12-7pm and Sat 12- 5pm
Find some details of the large window drawing she just finished below.
You can find YUST at Coveliersstraat 2, 2000 Antwerp, Belgium
Errances (Wanderings) is a participative performance proposed by Pascale Weber and Jean Delsaux of Hantu, in collaboration with Simona Polvani.
A bride, a soldier, a corpse in the Labrador Forest… unless it is one and the same body, surrounded by a constellation of avatars that manifest themselves as just as many inner voices and that evolve in satellites around it. Errances describes a war and an enemy impossible to name. Errances talks about the harsh law of humans and the loss of those who try to escape it.
Errances was first an in-situ performance performed in 2015 in the boreal forest that runs along the river Labrador (Canada), before becoming a public performance reconstituting in 2016 the experience of the duo Hantu at the UDEM Arts Pavilion in Montreal. The text was then rearranged with Simona Polvani, to become the score of a collective game: to hand one over to the cards to build with all participants the script of our common presence. Not making a show but collectively “arrange” the performance. Getting lost together, finding a way out together. Not thinking in terms of roles but in terms of sequence development. Not telling a story but puting oneself in a situation, by speaking more to the body then to the intellect: deconstructing, bullying the text, reversing the order of the replies, each seeking the place of words and bodies.
In the framework of the seminar:
Performative forms and practices: What questions today?
Proposed by Georges Vigarello, Sylvie Roques and Pascale Weber
and the Performance Programme coordinated by Pascale Weber
Institut ACTE, Axe Art, Sciences and Society
Tuesday, March 19, 2019, 7:00 p.m. to 9:00 p.m.
EHESS, 105 Boulevard Raspail, Room 1, 75006 Paris
Institut Interdisciplinaire d “Anthropologie du Contemporain
ERRANCES – Performance participative
proposée par Pascale Weber et Jean Delsaux, en collaboration avec Simona Polvani
Une mariée, un soldat, un cadavre dans la forêt du Labrador… à moins qu’il ne s’agisse d’un seul et même corps, entouré d’une constellation d’avatars qui se manifestent comme autant de voix intérieures et qui évoluent en satellites autour de lui. Errances décrit une guerre et un ennemi impossible à nommer. Errances parle de la dure loi des humains et de la perte de ceux qui tentent d’y échapper.
Errances fut d’abord une performance in-situ réalisée en 2015 dans la forêt boréale qui longe le Labrador (Canada), puis une performance publique reconstituant en 2016 cette expérience vécue par le duo Hantu au Pavillon des Arts de l’UDEM à Montréal, le texte fut ensuite réarrangé avec Simona Polvani, pour devenir ici la partition d’un jeu collectif : S’en remettre aux cartes pour construire avec tous les participants le script de notre présence commune. Ne pas faire spectacle mais « arranger » collectivement la performance. Se perdre ensemble, trouver une issue ensemble. Ne pas penser en terme de rôles mais en terme de développement de séquences. Ne pas relater un récit mais se mettre en situation, en adressant la parole autant ou davantage au corps qu’à l’intellect : déconstruire, malmener le texte, inverser l’ordre des répliques, chercher chacun la place des mots et des corps.
Dans le cadre du séminaire :
Formes et pratiques performatives : Quelles questions aujourd’hui ?
Proposé par Georges Vigarello, Sylvie Roques et Pascale Weber
Et du Programme Performances coordonné par Pascale Weber
Institut ACTE, Axe Art, Sciences et Société
Mardi 19 mars 2019, 19h à 21h
À l’EHESS, 105, boulevard Raspail, salle 1, 75006 Paris
Institut Interdisciplinaire d’Anthropologie du Contemporain
This week AnneMarie Maes takes part in the Milano Digital Week with a presentation of a version of her Guerilla Beehive. In the exhibition that is curated by the Joint Research Center of the EU, Maes was chosen as a representative of the project Resonance II that took place in 2017.
Her installation can be seen at the Palazzo dei Giureconsulti at the Piazza dei Mercanti in Milan until 17 March.
Find more information (in Italian) here.
Glossa + Stimuli (2016, lightboxes 1060mm x 720mm each) – Scanning Electron Micrographs, tongue of a honeybee / dus particle. Duratransprints on plexi, metal, LED lights.
Untitled (Yellow – a tribute to Eva Hesse) (2019, Bio Textile wall piece 650mm x 580mm). Bioplastics, organic dyes, metal washers
Belly (2018) Model for an Intelligent Beehive.
Microbial Cellulose, plaster, honeycomb, electronics
From 25th March 2019 AnneMarie Maes will show her bio-art installation Cabinet #004: Future Archaeology (The Temporal Duration Through Which The Future Is Founded In The Present) in the exhibition Brussels in SongEun: Imagining Cities Beyond Technology 2.0 at SEAS // SongEun ArtSpace in Seoul. This exhibition engages in a social-political discourse that involves citizens and various interest groups on the of what constitutes a desirable smart city in an era of technological revolution?
It assembles a group of seven Brussels-based and four Korean contemporary visual artists: Je Baak, Younes Baba-Ali, Pierre Jean Giloux, LAb[au], LarbitsSisters, Félix Luque Sánchez, AnneMarie Maes, Mioon, Hye Min Park, Beat Streuli and Ji Hye Yeom. Curators of the show are Ramona Van Gansbeke (GLOUN), Minyoung Lee (Art’loft Lee-Bauwens Gallery) and Pooluna Chung (Laurence Geoffrey’s, Ltd.) This group exhibition is presented within the category of SongEun ArtSpace’s annual program of country-specific exhibitions which invites guest curators from a country to present the work of promising artists from the country, such as Delfina in SongEun: Power play (2018), Indonesia in SongEun: Mes56 – Keren Dan Beken (2016), and Italy in SongEun: We Have Never Been Modern (2014).
The main theme of the projects on display is the concept of smart cities. Contemporary cities are magnets that attract growing numbers of people, resources, ideas, opportunities and knowledge. Today, 50% of the world’s population lives in global areas. By 2050, this percentage will have increased to 70%. While the application of new digital technologies in urban spaces has been celebrated for its ability to increase citizens’ well-being, various experiments around the world have revealed how we forget to examine the impact, on various levels, of this digital development in the cities of the future, including on the psychological, ethical, philosophical, social and political level.
With the bio-art installation Cabinet #004: Future Archaeology (The Temporal Duration Through Which The Future Is Founded In The Present) AnneMarie Maes presents a Cabinet of Curiosities, a ‘Wunderkammer’. She appropriates archaeological and other scientific methods of collecting and ordering for the presentation of diverse artefacts. Every object presented on the laboratory tables is the outcome of a particular experiment. The bizarre biomorphic artefacts add a specific rhythm to the installation, but they stand in stark contrast to the strict geometry of the laboratory architecture bathing in pink light: hard and soft oppose each other. In her work AnneMarie Maes adapts scientific methods and biotechnology to explore living systems as artistic subjects. Recently she started a new research project that explores the creation of bio-plastics made by bacteria and algae. Besides being an alternative for plastics, these new materials can also become alternative energy sources or to be used in the construction industry. Future Archaeology offers a concrete starting point for an exploration of possible futures through artistic research on material science and biotechnology. Navigating between a blueprint and a proof of concept, the experiments presented in this installation can be seen as an artifact from the future, a fragment of a world to come.
The exhibition opens Monday 25 March at 6.30pm and runs until 8 June.
Find more info here.